WYSIWYG

annual 276thtypography conference

2015may 23-25

interlakenswitzerland; europe

wysiwyg catalogwhat you see is what you get

W.Y.S. I .W.Y.GAND WHAT YOU GET IS A BEAUTIFUL TYPOGRAPHY CATALOG

LUCKY YOU

’15

welcometo the 276th annual typography conference

A fancy, little get together; full of fancy, diaccritc type designers

as the saying goes, type is a beautiful group of letters, not a group of beautiful letters

– Matthew Carter

hello. we are very glad you could make it to the 276th Annual Typography Conference. Yes, that is

correct, the 267th Annual Typography Conference. Crazy

to think that this Annual Typography Conference has been

going on for that long. And lucky you! You have the excep-

tional privilege to attend and participate in all of the fun and

educational activities prepared for this week. There will be

type designers from all around the world and from a range

of different times periods present, so make sure to use this

time wisely and take advantage to peep into the clever minds

of all the old style and modern type geniuses. We are confi-

dent that this experience will be one of the most rewarding

typography conferences you will ever attend.

during your time here, you have the opportunity to attend speeches and workshops that will callout new in-

formation and insights much needed to flex your creative

mind. The goal of this typography conference is to provide

an educational experience so that when you leave here you

feel that you can take with you what you learned and expand

on your own personal typography goals. So put on your best

typeface and let the kerning begin!

If you have any questions regarding any concern you may encounter during

your time here at the WYSIWYG 276th Annual Typography Conference,

please contact Phinley Cottle, Head Coordinator of WYSIWYG Annual

Typography Conference, at (389) 991-6645 or [email protected]

try & find 2 ampersands

1/2page numbers

2015may 23-25

1.0section

introductionjust a way to say hello & welcome

WYSIWYGDraw these letter forms

x height

cap height

baseline

gametimedrawing type

x height

cap height

baseline

personal information

name:

address: street apt. # city state zip country

company:

title:

contact information

phone: ( )

email:

web url:

workshop sign up

name of workshops:

date & time:

registration fee

credit card info/payment:

billing address:

send to:

wysiwyg member [ ] y [ ] n

application form

Send Application Form to WYSIWYG 276th Annual Typography Conference | Swiss Legacy Studio Aaraverstrasse 2, Lenzburg Interlaken 5600, Switzerland

a call for typographers

APPLICATION FORMwysywig 276th annual typography conference

interlaken, switZerland; europe

elegibility

You must be a member of WYSIWYG. If you're not a member already, you can become one online at:www.wysiwyg.com

dates

The WYSIWYG Typography Conference will be held the 23rd of May through the 25th of May.

application form

On the back of this page is the appli-cation form. Please fill out and return Thank you.

’15

SCHEDULEFor your connotation, we made these instructions as simple as possible in 3 easy steps:

5/6page numbers

2015may 23-25

2.0section

schedule so you know what to do

1 tear the schedule page for the appropriate day

2 carry the schedule with you throughout the day

3 take notes on the back of the schedule page

ty

pog

ra

phy c

on

fer

en

ce s

hc

ed

ule

05.2

3.15

we

dn

esd

ay

8:00

am

co

nfe

re

nc

e c

he

ck-in

9:00

am

he

rb l

ub

ali

n k

ey

no

te s

pea

ke

r: M

ore i

s Bett

er

10/1

1 a

m

er

ik s

pie

ke

rm

an

ma

in s

pea

ke

r:

Des

ign

Min

d

11/1

2 pm

ad

ria

n f

ru

tig

er w

or

ksh

op: S

wiss

Typ

e Des

ign

12/1

2:45

pm

lun

ch A

bit

of ti

me t

o re

lax

1/2

pm

pa

ul

re

nn

er w

or

ksh

op: T

he A

rt of

Typ

ogra

phy

2/3

pm

wil

lia

m c

asl

on

ma

in s

pea

ke

r: C

aslo

n Fo

undr

y

3/4

pm

ma

rti

n m

ajo

or m

ain

spe

ar

ke

r: T

ype D

esig

n Ph

iloso

phy

4/5

pm

ca

ro

l tw

om

bly

wo

rk

sho

p: C

allig

raph

y

5/6

pm

cla

ud

e g

ar

am

on

d m

ain

spe

ak

er

: Gre

cs d

u R

oi

5/6

pm

nic

ola

s je

nso

n m

ain

spe

ak

er

: Ven

itian

Old

style

have

a g

ood

day

!

ty

pog

ra

phy c

on

fer

en

ce s

hc

ed

ule

05.2

4.15

th

ur

sda

y

8:00

am

co

nfe

re

nc

e c

he

ck-in

9:00

am

typ

og

ra

ph

y t

alk

ga

th

er

in m

ain

bu

ild

ing

to

ta

lk

ty

pe

10/1

1 a

m

ro

be

rt

slim

ba

ch m

ain

spe

ak

er

: Ad

obe

11/1

2 pm

ma

tth

ew

ca

rte

r w

or

ksh

op: T

rans

ition

from

med

al to

dig

ital t

ype

12/1

2:45

pm

lun

ch A

bit

of ti

me t

o re

lax

1/2

pm

da

vid

be

rlo

w w

or

ksh

op: P

ostS

crip

t

2/3

pm

pa

ul

re

nn

er m

ain

spe

ak

er

: The

Fut

ura

of T

ype

3/4

pm

ad

ria

n f

ru

tig

er m

ain

spe

ar

ke

r: T

ype,

Sign

, Sym

bol

4/5

pm

tob

ias

fre

re-j

on

es

wo

rk

sho

p: H

&FJ

e

5/6

pm

fre

de

ric

go

ud

y m

ain

spe

ak

er

: Sto

p St

ealin

g Sh

eep

5/6

pm

fra

nc

esc

o g

rif

fo m

ain

spe

ak

er

: Pun

ch C

uttin

g take

goo

d n

otes

!

ty

pog

ra

phy c

on

fer

en

ce s

hc

ed

ule

05.2

5.15

fr

ida

y

8:00

am

co

nfe

re

nc

e c

he

ck-in

9:00

am

fir

min

did

ot

ke

yn

ot

e s

pea

ke

r: S

tereo

type

10/1

1 a

m

gia

mb

att

ista

bo

do

ni m

ain

spe

ak

er

: Il

Man

uale

tipog

rafic

o

11/1

2 pm

er

ik s

pie

ke

rm

an

n w

or

ksh

op: M

etaD

esig

n

12/1

2:45

pm

lun

ch A

bit

of ti

me t

o re

lax

1/2

pm

ma

rti

n m

ajo

or w

or

ksh

op: L

iefde

voo

r Lett

ers

2/3

pm

ma

tth

ew

ca

rte

r m

ain

spe

ak

er

: Mak

ing

the W

orld

mor

e Leg

ible

3/4

pm

ca

ro

l tw

om

bly

ma

in s

pea

rk

er

: How

to b

e the

Nex

t Mov

ie T

ypefa

ce

4/5

pm

ro

be

rt

slim

ba

ch w

or

ksh

op: D

igita

l Typ

eface

Des

ign

5/6

pm

da

vid

be

rlo

w m

ain

spe

ak

er

: Dra

win

g Le

tters

5/6

pm

tob

ias

fre

re-j

on

es

ma

in s

pea

ke

r: G

errit

Noo

rdzi

j

than

ks f

or a

tten

din

g!

no

te

sw

ed

ne

sda

y | ma

y 23, 2015

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

no

te

st

hu

rsd

ay | m

ay 24, 2015

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

no

te

sf

rid

ay | m

ay 25, 2015

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

____________________________________

WORKSHOPS

wednesday | may 23, 2015

adrian fruitger: Swiss Type Design

In this workshop, you will learn all of the different characterists and

form of Swiss type design and then try to create your own Swiss type

using the characteristcs of Swiss type design.

paul renner: The Art of Typography

In this workshop, you will learn about the different philosophies of

The Art of Typography. You will then write your own philosophy

and design a typographic document stating your philosophy of The

Art of Typography.

carol twombly: Swiss Type Design

In this workshop, you will learn how Carol Twombly has mastered

calligraphic type design. You will then have the opportunity to prac-

tice hand drawn calligraphy using the techniques and tools Carol

Twombly will teach and provide. thursday | may 24, 2015









Art of Typography.



calligraphy. You will then have the opportunity to practice hand

drawn calligraphy using the techniques and tools Carol Twombly

will teach and provide.

friday | may 25, 2015









Art of Typography.



calligraphy. You will then have the opportunity to practice hand

drawn calligraphy using the techniques and tools Carol Twombly

will teach and provide.

typography talk | Thursday May 24, 2015

At Typography Talk, you will have the opportunity to meet and greet

with people attending the conference, including keynote and main

speakers. This is a wonderful way to have intellectual and useful con-

versations with a range of unique typographers. Typography Talk is

just a casual get together to simply talk about type.

*Breakfast will be provided.

7/14page numbers

2015may 23-25

3.0section

biographies for you to get to know each other

BIOGRAPHIES

herblubalintype designer

ITC Avant Garde, Ronda, Lubalin Graph, ITC Serif Gothic

“rather than less is more, more is best.”

few graphic designers embody the aesthetics of their time as completely as Lubalin. Arguably, from the late 1950s to

the late 1970s, he was American graphic design. His eclectic

sensibility pervaded advertising, editorial, and package design

so thoroughly that the best word to describe the era may be

“Lubalinesque.” The father of conceptual typography, Lubalin

helped build a bridge between the modern and late-modern

schools. Letters were not merely vessels of form, they were

objects of meaning. He made words emote. He came of age,

fortuitously, in an epoch of technological change. But rules, he

realized, were meant to be turned upside down. He liberated

white space from the traditional way, refusing to follow the edict

that less is more.

herb lubalin‘s numerous awards include seven gold medals from the Art Directors Club, Art Director of the Year

Award from the National Society of Art Directors, a Clio,

two honors from The Cooper Union, the Augustus St. Gaud-

ens Medal and The Award for Professional Achievement. He

considers, however, his greatest achievements to be his sons:

Robert, a talented designer with the architectural firm, Davis,

Brody, and Peter, who came to advertising prominence with his

Dannon Yogurt “Russian” commercials.

he has been both the subject and author of many articles on graphic design, which have appeared nationally and

internationally in, among others, such leading publications as:

Art Direction, American Artist, Popular Photography, Com-

munication Arts, Graphics Today, Graphis, Idea, Gabrauchs-

graphik, and U&lc.

keynotespeakers

Herb Lubalin & Firmin Didot

firmindidottype cutter

Didot

“before bodoni, there was didot.”

firmin didot was born in paris in 1764 to a family well acquainted with the printing industry. The first Didot to be

in the printing business was a printer-bookseller named Marie-

Anne Didot. She began her business in 1698. Firmin was able

to gain momentum and enjoy success as he built from the foun-

dation and history his family had left him.

firmin’s father, francois-ambroise didot, was particu-larly influential to his work. The first version of the Didot type-

face was cut by Louis Vafflard. He was an experienced cutter

working with instructions given to him by Francois-Ambroise

Didot. In 1784, the typface attained its most highly finished

form by Firmin.

firmin was able to use recent developments in type design to create his 1784 version of Didot, what many consider

to be the cleanest and purest version of the typeface. The type-

face has the appearance of being designed rather than drawn.

The 1784 version shows geometrical tendencies, pure and un-

cluttered. The letters are built on a vertical axis; the hairlines

are thin and beautifully finessed, while the stems are much

thicker with the serifs becoming finely bracketed.

the word “stereotype” was invented by firmin. a stereotype refers to the metal printing plate created for the ac-

tual printing of pages. This process consisted of molding an

entire made-up page of text set in movable type in the same

block of lead. This became an effective money saving process.

This technique allowed for greater regularity in print quality.

how to play the game:1 match the name with the typeface

2 match the typeface with the letterform

MIX & MATCH

gametimemix & match

Lubalin, Herb

Didot, Firmin

Bodoni, Giambattista

Garamond, Claude

Carter, Matthew

Frere-Jones, Tobias

Fruitger, Adrian

Slimbach, Robert

Majoor, Martin

Caslon, William

Spiekermann, Erik

Jenson, Nicolas

Griffo, Francesco

Renner, Paul

Berlow, David

Twombly, Carol

Frederic, Goudy

Copperplate

Garamond

Futura

Skia

Myriad

Avenir

Caslon

Didot

Adobe Jensen

Scala Sans

Avant Garde

Officina

Bodoni

Trajan

Gotham

Bembo

Franklin

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

name: typeface: letterform:

answers on page 16

giambattistabodoni

type designer

“The father of Modern type.”

as a young boy he took after his dad and grandfather who

owned a printing establishment. He went from engraving wood

there to working in Rome for the press of the Propoganda. His

superiors were pleased with his eagerness and zeal to learn not

only his language but ancient languages and types as well.

bodoni was forced to take a break when he contracted malaria. Once back in commission, Duke Ferdinand hired

Bodoni to organize a printing house in Parma that was to be

one of the great houses of Italy. This is where Bodoni worked

the rest of his days manage several houses including one that

was named after himself. It is in these houses that he created

specimens, specimen books, fine editions and much more in-

cluding pseudoclassical faces and more specifically Bodoni;

both known for their stylized characteristics to be admired and

for layout. The technical refinement Bodoni was able to achieve

allowed him to faithfully reproduce letterforms with extreme

thins in contrast to extreme thicks on the main stems and over-

all geometric shape.

bodoni died november 29, 1813 in padua, italy at the age

of 63 due to unknown causes. In total Bodoni designed and

personally engraved 298 typefaces and 1,200 fine editions with

work including 272 characters, 34 Greek characters and 48

Oriental or exotic ones.

claudegaramond

type designer

“Claude Garamond’s contribution to typography was vast, a true renaissance man.”

claude garamond was a type designer in 16th century

Paris. Garamond was born in 1480. By 1510 he apprenticed

as a punch cutter. In 1520 Garamond worked as an assistant to

Geoffrey Tory, who was interested in humanist typefaces and

Greek capitals. Both had an impact on Garamond’s later work.

In 1541 he gained prominence when royally commissioned to

design a Greek typeface for a series of books. The resulting

books have been described as being “among the most finished

specimens of typography that exist.” From this period on, he

began creating the Roman type for which he is best remem-

bered. His influence spread and by the end of his life, Gara-

mond was well known throughout Europe. Despite his popular-

ity, at the time of his death in 1561 he was destitute, and His

widow was forced to sell all of his punches. The typefaces that

Claude Garamond produced are considered to be the typo-

graphic highlight of the 16th century, and have been a source

of inspiration for modern type designers.

undoubtedly, claude garamond was one of the most influ-ential type designers of all time. However, the true magnitude

mainspeakersof his influence in contemporary design is often questioned. In

1621 Jean Jannon, created typefaces that were similar to Gara-

mond’s designs. These were forgotten for centuries until redis-

covered in 1825 and erroneously attributed to Claude Gara-

mond. This rediscovery sparked a revival of “Garamond” faces.

matthewcarter

type designer

“Watching me work is like watching a refrigerator make ice.”

matthew carter was born in london in 1937 and is a de-signer whose work is used throughout the world everyday. He

devoted the first half of his career to designing typefaces for use

in print such as Bell Centennial and Miller, and then pioneered

the use for fonts on screen, primarily Verdana for Microsoft. He

was introduced to type through the works of his father who was

also a typographer, book designer and type historian.

carter learned how to make metal type by hand at the Enschedé type foundry in the Netherlands. He is one of the last

people to have learned the art of making metal type by hand

and therefore understands the form and the counterform of the

letters. Carter compares his design process to knitting, by begin-

ning with the letters “h” and “o”, which give the height of the

ascenders and curves, he is then able to design the rest of the

alphabet off of these “control” characters. His decision to stay

at the type foundry was a priceless decision and earned him

training and knowledge that would prove to be highly valuable.

after working for lynotype, carter founded two type

foundries, Bitstream in 1981 and Carter and Cone Type in

1991. He is a recipient of the Chrysler Award for Innovation in

Design, the Type Directors Club Medal and the AIGA Medal.

tobiasfrere-jones

type designer“Shapes of our letters are just as important as the shapes of our buildings, or the accent in our voices ... (they’re) just as important, in terms of recognizing the city.”

mustard pots & marmalade jars with labels done in gill Sans; that’s how it all began. Tobias Frere-Jones, even as a child

had a fascination with type. Born on August 28, 1970 in New

York City, Tobias was instilled with a great love for the city. He

has given himself, “the task of visiting every block in Manhat-

tan and recording every piece of surviving lettering still there.”

Some of the seemingly strongest influences on Frere-Jones’

work as a typographer are road signs & old signage (neon, steel,

bronze) & lettering from old New York. BFA graduate of the

Rhode Island School of Design in 1992, Frere-Jones has gone

on to create over 500 typefaces for various clients including

GQ, Nike, Martha Stewart Living, & The Wall Street Journal.

He is most known for his typeface, Interstate, introduce in 1994

from the Font Burearu Inc.

in 1999, upon leaving the font bureau inc, frere-jones began partnership with Jonathan Hoefler creating Hoefler &

Frere-Jones. The two continue to create a wealth of beautiful

typography, sharing it will the world. In 2006 Frere-Jones was

awarded the Gerrit Noordzij Prize from the Royal Academy

of The Hague & was the first American to receive the award.

adrianfrutiger

type designer

“Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay.”

known for his many influential typeface designs in the 20th Century, (Avenir, Frutiger, Univers, etc.) Adrian Frutiger

was born May 24, 1928 in Unterseen, Switzerland as the son

of an artisan weaver.

one of frutiger’s major contributions to the world of typography is his development of a numerical classification

system for organizing his font family Univers (released in 1957

while he was a student in Zurich), which later became an ap-

proach for many other type designers and their typefaces in-

cluding Helvetica Neue. His fortunate timing in designing

within a period of technological reformation, together with his

experience from young age in printmaking, enabled him to de-

velop creative new fonts from hot metal, phototypesetting, and

eventually digital typesetting.

absorbed in his efforts for legibility, frutiger was asked to design a typeface for the Charles De Gaulle Airport in Paris

that could be read from different angles. This typeface was a

combination of his extremely rational typeface Univers and a

borrowed anatomy from the humanist qualities of Gill Sans by

Eric Gill. It originally was designed in one weight, meant to be

Eric Gill. It originally was designed in one weight, meant to be

more legible in white on a darker background, and he gave it

the name Roissy but soon it came to be known as Frutiger.

robertslimbach

type designer“We here all know Robert Slimbach is ‘the man’ at Adobe.”

robert slimbach was born in evanston, illinois, december 15th, 1956.. He attended UCLA and received an athletic schol-

arship (Carter). After college, he produced silkscreen posters

and prints, which he incorporated hand-lettering into. In 1983,

Slimbach decided to join Autologic and began to study typefac-

es and the designs of Hermann Zapf and Georg Trump.Later

in 1985, he decided to move to Ventura, California and did

freelance design. He designed two typefaces for ITC- a squarish

roman and italic called Slimbach (1987) and Giovanni (1988), a

cleaned-up old face. in 1992, robert slimbach and carol twom-

bly, worked onthe sans-serif typeface, Myriad. Poetica, a chan-

cery italic typeface, appeared to him.

slimbach later became interested in scripts and designed one called Sanvito, latest of Catfish Script (1993) based on Max

Catflisch’s handwriting. In 1995, Slimbach created Adobe Jen-

son, which was a less-mannered and decorative than Centaur.

Currently, he is working for Adobe in San Jose, California. He

remains devoted to old-style typefaces, many of which are lo-

cated and available to users on the Adobe programs of today.

martinmajoor

type designer

“I have to make another five type families before I turn 70.”

born in 1960 in the netherlands, martin majoor attended art school in Arnhem between 1980 and 1985. In 1985, Majoor

started his career as a type designer, resulting in the four font

families: FF Scala, Telefont, FF Seria and FF Nexus, an average

of one font per 6 years. First of all Majoor's fonts are fairly large

families, combining serif, sans and sometimes slab serif into

one connected super family. Secondly, Majoor did a few other

things in the last 25 years: book design, book collecting, smaller

type design projects, teaching, raising two children, travelling

between Holland and Poland, giving lectures and interviews,

writing articles for magazines and for books.

williamcaslon

type designer“When in doubt, use Caslon”

william caslon, also known as william caslon i, was an English gunsmith and designer of typefaces. By the age of 13,

he was taken in as an apprentice engraver of gunlocks and bar-

rels and as a bookbinder's tool cutter in gunlocks and barrels

and as a bookbinder's tool cutter in London. In 1720, Caslon

began his career in type design by accepting a commission to

create a typeface for the New Testament in Arabic. Also in

1720, he founded the Caslon Foundry, which would become the

leading English type foundry of the 18th and 19th centuries.

the distinction and legibility of his type secured him the patronage of the leading printers of the day in England and Eu-

rope. His typefaces were inspired by the Dutch Baroque types,

the most commonly used types in England before Caslon's faces.

His work influenced John Baskerville and are thus the progeni-

tors of the typeface classifications Transitional and Modern.

caslon typefaces were immediately popular and used for many important printed works, including the first printed

version of the United States Declaration of Independence.

Caslon's types became so popular that the expression about

typeface choice, “when in doubt, use Caslon,” came about. The

Caslon types fell out of favor in the century after his death, but

were revived in the 1840s. Several revivals of the Caslon types

are widely used today and it remains one of the most popular

typefaces of all time. William Caslon died on the 23rd of janu-

ary 1766. His grave is preserved in the churchyard of St Luke

Old Street, London.

erikspiekermann

type designer

“You are what you are seen to be.”

after earning a degree of art history in college, erik did freelance graphic design work in London from 1972-1979. He

then returned to Berlin and founded MetaDesign. In 1989 he

and his wife (Joan) started FontShop, the first mail-order dis-

tributor of digital fonts.

in 2001, spiekerman left metadesign and started udn (United Designers Networks). In 2007, he renamed UDN to

Spiekermann Partners and renamed it yet again in 2009 to

Edenspiekermann.

spiekermann has won many awards recently. in 2003, he was awarded the Gerrit Noordzij Prize. In 2006, he was given

an Honorary Doctorship for his contribution to design by The

Art Center College of Design and received a Gold Medal by

the German Federal Design Prize. In 2007, he was put into the

European Designers Hall of Fame (communication design) and

was Honorary Royal Designer for Industry. In 2009, he was

Ambassador for European Year of Creativity and Innovation

by the European Union.

spiekermann’s most prolific and known typefaces are itc Officina, FF Meta and FF Unit. He finds ITC Officina as his

classic and favorite typeface that he has designed. He is also

known for his feelings of the typeface Helvetica. He has known

to say that it is, “boring, bland, and that it has no rhythm or

contrast.” Spiekermann believes that future trends show that

there will be even more open type features available and that

fonts will be more like spontaneous handwriting.

nicolasjenson

punch cutter“The characters are so intelligently and carefully elaborated that the letters are neither smaller, larger nor thicker than reason or pleasure demand.”

nicolas jenson was born in france in 1420, and began working as an engraver when he was 38. In 1458 he was sent to

Mainz by the king of France, Charles VII to study Guttenberg’s

work with moveable-type printing. When Archbishop Adolf II

invaded the city in 1462, Jenson fled to Venice where he opened

the city’s second printer. Here, he designed his Venetian type-

face which was based on manuscript handwriting from local

Bibles and documents. He wanted the typeface to be more fo-

cused on typographic principles. Jenson used this typeface in

fused on typographic principles. Jenson used this typeface in the

first book he set De Praeparatione Evangelica by Eusebius. This

typeface became one of the first roman typefaces. The creation

of this typeface was also part of the historical shift away from

gothic typefaces to humanistic and roman typefaces. Jenson did

not focus on the perfection of the letters but rather the space

around the letters formed by the letter shapes.

jenson is credited with the creation of venetian typefaces, also known as Antiqua or Old Style typefaces. Jenson continued

to live in Venice until his death in 1480 and eventually pro-

duced about 150 books in his printing shop. He created two

more typefaces in his life; one typeface was Greek style which

he used primarily for quotations, and then a blackletter type-

face for books on medicine and history. After Jenson’s death, his

typefaces were adopted by a fellow printing company, Aldine

Press, and became the inspiration for multiple typefaces includ-

ing Centaur, Cloister Old Style, and Adobe Jenson.

francescogriffo

punch cutter

“Griffo has never received adequate recognition for his contribution to type design.”

francesco de griffo was born 1450 in bologna, italy. He started off as a goldsmith and as a Ventian punchcutter.

He worked under Aldus Manutius, an Italian humanist who

founded the Aldine Press in Venice. Under Manutius, they both

worked on the greek types, in order to improve on the early

roman type of Nicolas Jenson. Griffo was skilled and created

innovative with type. His romans were calligraphic, but they

are styled much different than Jenson’s. Griffo’s capitals were

shorter than the ascending letters of the lower-case letters. It

was innovative in the fact that it made the color of the text stand

out more, making the overall text more legible. An example of

this innovation is found in the typeface, Bembo, which he and

Manutius created. Later on he started working on more cal-

ligraphic typefaces that resembled handwriting.

as the first modern typographer, he was revolutionary in the world of type. Instead of creating typefaces for the written

manuscript, he created face for the mechanical style of printing.

The work of Griffo, especially his cursive, or italic type, was

giving Manutius quite a bit of fame. Soon the Aldine Press had

a monopoly over Venetian printing. Sadly, during the boom of

business, Griffo felt that he was not being given enough credit

for his works. In the end, the two separated ways and that was

the end of their friendship. Griffo’s life ended tragically. He got

into an argument or fight with his son-in-law where, in his an-

ger, beat him to death with an iron bar.

paulrenner

type designer“The goal of every attempt to give shape is to make out of different things a whole, out of diversity a unity, and not to reduce a whole to disconnected parts.”

paul renner was born august 8, 1878 in wernigerode, ger

many. He worked for Münich publishing trade from 1908 to

1917 in book design. He was inspired by the idea of “New Ty-

pography” and he started his work on the typeface now known

as Futura, in the summer of 1924. Futura was released in 1928,

and became the cornerstone of Geometrical Modernism.

in 1926, renner became the principle of the printing trade School in Münich. In 1932 Renner criticized the Nazi party

and their strict policies in a booklet titled “Kulturbolschewis-

mus?”. In 1933, Renner was arrested and imprisoned by the

Nazis. Shortly after he was removed from his position of direc-

tor at the school. Before his removal he arranged for his friend

and coworker Georg Trump to take over as director, to avoid

an outside appointment by the Nazis. In the years following

World War II, Renner lived in retirement, continuing to write

and design. He also became involved in discussions on the de-

sign problems facing the industry at the time. Paul Renner has

and will continue to offer a voice of experience to the graphic

design industry.

davidberlow

type designer

“It’s not over ‘til it’s over.”

born in 1954 in boston, he is considered one of the most

influential typography figures of today. He studied fine art at

the University of Wisconsin. In 1978, Berlow worked as a let-

ter designer in New York City for the Mergenthaler Linotype

where he fell in love with drawing the alphabet. In 1982, he be-

gan working for Bitstream Inc, a digital type supplier, where he

developed fonts, font tools, and marketing strategies. With time,

Berlow could see that Bitstream was reaching its limits in design

as it refused to pursue PostScript, so he left Bitstream Inc. in

1989 and founded with Roger Black The Font Bureau, Inc., an

innovative company that created custom type for clients like:

The Chicago Tribune, The Wall Street Journal, Rolling Stone,

Apple Computer, and many others. The Font Bureau currently

has more than 500 original typefaces. Through his work experi-

ence, he was able to witness and influence the development of

type into the digital age.

berlow feels that his main tool for designing type is the rest of the world, where there is a steady stream of typographic

stimulation. Some of the greatest influences and inspirations

for David were the people he graduated with like: Mike Parker,

Cherie Cone, Larry Oppenberg, and Alex Kaczun.

caroltwombly

type designer“The challenge of communicating an idea or feeling within the further confines of the Latin alphabet led me from graphic design into type design.”

while most of the notable typeface designers have histori-

cally been men, Carol Twombly has been one of the most influ-

ential type designers of this century. She began her art educa-

tion pursuing sculpture. The factor that brought her from

sculpture, to graphic design, and finally to type design can be

summed up in two lines.

a significant influence in twombly‘s career path was her professor Charles Bigelow. She studied under Bigelow at Rhode

Island School of Design and again at Stanford. At Stanford she

received an M.S. in the newly developed digital typography

program. She later worked with Adobe for over 10 years. Much

of Carol's work is centered around historical letterforms and

bringing them to the digital age. Lithos, Charlemagne, and Tra-

jan were inspired by Roman and Greek letterforms. Following

those, she created Adobe Caslon and Myriad. Myriad was co-

created with designer Robert Slimbach and is the chosen type-

face of huge companies such as Wal-Mart and Apple. Following

this she created decorative fonts such as Viva and Nueva. The

last typeface she created was Chaparral in 1997.

after an amaZingly fruitful decade of working at adobe, Carol Twombly ended her career as a type designer in1999.

She left to pursue artistic endeavors aside from type design such

as textile and jewelry design.

fredericgoudy

type designer

“Any man who would letterspace blackletter would shag sheep.”

at the age of 40, frederic w. goudy decided that he would leave his job as a book keeper for a mortgage and credit firm

in order to pursue a career as a typographer. Believing that the

typography in the books he kept could be more legible he began

gathering books and attending conferences about typography

and the creation of type. Goudy became the 3rd most prolific

typographer in America creating over 113 typefaces. He soon

built and started his own workshop and foundry believing that

he could create more creative and beautiful typefaces without

being bound by the limitations of the ideals of others.

goudy believed in the creation of type by hand and drew all of his faces. Later in his life he devoted his typographic skills

towards creating the perfect roman typeface. A goal he sought

after while working as the art director for the Linotype type

foundry. Goudy was even revered by the Library of Congress

for his work in the field of typography during his lifetime. Some

of Goudy’s popular typefaces include: Camelot, Village, Cop-

perplate Gothic, Kennerly, Goudy Old Style, Forum Title, and

Garamont. After the fire Goudy spent most of his time teaching

and speaking about typography and its art.

GLOSSARY

15page numbers

2015 may 223-25

4.0section

glossaryso you know what a word means

aa ampersand: The symbol for “and” (&).

bb basel ine: The imaginary line upon which text

rests. Descenders extend below the baseline. Also known

as the "reading line." The line along which the bases of all

capital letters (and most lowercase letters) are positioned.

cc calligraphic: In typography, this usually refers to Roman or Italic alphabets which appear to have been written with a pen or brush. Derived from the Greek word "kalligraphia," which means "beauMful writing.

cc callout: A selection of type (word or phrase) that is set in larger or bolder type from the body-copy font for emphasis.

cc cap height: The height of the uppercase letters within a font.

cc connotation: The associations a particular font brings to the readers interaction with it; what it reminds the reader of, the feelings or thoughts that arise when looking at it.

ff flex: A means of automatically supressing small details such as cupped serifs that would print poorly at small sizes.

kk ker ning: The adjustment of spacing between

letters. The process of improving appearance and

legibility by adjusting the white space between certain

paired characters. Manual kerning allows the desktop

publisher to move letters either closer or farther apart to

adjust and improve the space between them. Automatic

kerning on the computer is done by using a kerning table

that contains pre defined font specific kerning pairs.

ll l igature: A special double character in a font

representing two letters as one. For example, ae and oe.

One character that is made up of two or more letters.

mm modern: A modified version of Oldstyle. These high contrast letters have heavy, untapered stems and light serifs. Originally developed by Firmin Didot and Giambattista Bodoni during the 18th and 19th centuries.

oo oldstyle: Characterized by variations in stroke, width, bracketed serifs, high contrast, and a diagonal stroke. Examples include: Bembo, Garamond, Caslon.

oo opentype: New font format developed by Adobe

and Microsoft. OpenType font can contain a set of glyphs

defined as TrueType or Type 1 curves.

tt typeface: A set of characters that share common

characteristics such as stroke, width and the presence

or absence of serifs. The character set includes letters,

numbers, punctuation, and symbols.

ww wysiwyg: (What You See Is What You Get) Refers

to a relatively accurate screen representahon of the final

printer output.

xx x-height: The height of those lowercase letters

such as “x”, which do not have ascenders or descenders.

The lowercase ‘x’ is used for measurement since it usually

sits squarely on the baseline.

answersheetmix & match

Lubalin, Herb

Didot, Firmin

Bodoni, Giambattista

Garamond, Claude

Carter, Matthew

Frere-Jones, Tobias

Fruitger, Adrian

Slimbach, Robert

Majoor, Martin

Caslon, William

Spiekermann, Erik

Jenson, Nicolas

Griffo, Francesco

Renner, Paul

Berlow, David

Twombly, Carol

Frederic, Goudy

Copperplate

Garamond

Futura

Skia

Myriad

Avenir

Caslon

Didot

Adobe Jensen

Scala Sans

Avant Garde

Officina

Bodoni

Trajan

Gotham

Bembo

Franklin

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

Aa

name: typeface: letterform:

INTERLAKEN AIRPORTFLUGHAFEN BERN-BELP, ZELGLUSTRASSE 934

INTERLAKEN 5600

SWITZERLAND

swiss legacy STUDIOAARAVERSTRASSSE 2, LENZBURG

INTERLAKEN 5600

SWITZERLAND

MAP & LOCATION

walkeweg.....

aarauerstrasse ...............................................

ha

llw

ilst

ra

sse

parkweg.............

neumattstrasse..................

swiss legacy STUDIOaaraverstrassse 2, lenZburg

interlaken 5600

Zelg

list

ra

sse...

......

......

......

.....

INTERLAKEN AIRPORTFLUGHAFEN BERN-BELP, ZELGLISTRASSE 934

INTERLAKEN 5600

/ / / / / / / / / / / / /

<<

<<

<<

<>

>>

>>

>>

For an easier way, plug in addresses into your GPS. Thank goodness for technology!

17/18page numbers

2015 may 223-25

5.0section

map & locationa way to get from here to there

www.wysiwyg.com

mr. shawn randall

Brigham Young University–Idaho

Spori Building No. 214

525 South Center Street

Rexburg, Idaho 83460

bridgette hall

368 West 4th South

Rexburg, ID 83440

first class

us postage paid

rexburg, id

permit no. 3381

| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |

WYSIWYG

Documents

Transcript of WYSIWYG